Donald Judd (American, 1928-1994)
Stainless steel with blue plexiglas front and sides, ten units 
172-1/4 x 40-1/4 x 31-1/4 in. (437.5 x 102.2 x 79.4 cm) 
Credit Line:
Norton Simon Museum, Partial Museum Purchase, Partial Gift of the Artist 
Accession Number:
Art © Judd Foundation/Licensed by VAGA, New York, NY Reproduction of this image, including downloading, is prohibited without written authorization from VAGA www.vagarights.com 
Not on View

As with Robert Morris, Donald Judd wrote extensively about the nature of sculpture. Judd, too, thought that the word “sculpture” was unsatisfactory in describing his creative pursuits, as he felt it referred to an object that was illustrative or narrative in nature. Instead, he preferred to use the term “specific object.” Also like Morris, Judd felt that personal gesture was not essential to the creative process; rather, the selection of materials, colors and composition sufficiently expressed his artistic endeavors. His Plexiglas-and-metal stacks from 1969 and his boxes from 1966 illustrate the deliberate, opposing forces he incorporated into his work. In both works, lightness meets durability, openness meets inaccessibility. Both sculptures also display Judd’s keen interest in the integration of space between the elements, as well as around the works. The stacks expand or contract depending on the height of the ceiling (here there are only eight of ten), but the spaces between them remain consistent: the elements are the same distance apart as they are tall. And when Judd later introduced non-uniform heights and widths into his material, the spaces between them reflected that change.


Donald Judd, Part Purchase / Part Gift of the artist, 1969 / (Leo Castelli, New York), to;
Pasadena Art Museum, Pasadena, 1969-1975;
Norton Simon Museum, Pasadena.

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